"Into the Dark Wood" brings out the dark side of fairy tale heroines
Brooks and Company's Into the Dark Wood is one of the first dance productions of what promises to be a busy new year on the Atlanta dance scene. The show, which plays at the Balzer Theatre January 5-7, explores the dark side of three fairy tales: Hans Christian Anderson's “The Ice Queen”; the Slavic folktale "Baba Yaga”; and the Bluebeard-like English tale “Mr. Fox.”
“I would say they're 'dark' only because we're telling the original versions, not the Disney versions,” says the show's creator and choreographer Kristyn McGeehan. “When you string the stories together, it tells a larger story. The first one is innocent, and each of the heroines gets a little darker as it moves along. It felt like the arc of a life to me.”
The stories are linked together by a narrator but are told primarily through dance. Though the dancers in Brooks and Company are classically trained, the segments of the show utilize a range of styles: “The Ice Queen” is told with balletic movement, “Baba Yaga” in a more modern style, and “Mr. Fox” has a jazz feel, McGeehan says.
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string(3716) ""I've had my head digitized," is the first thing we hear Marlon Brando say in Listen to Me Marlon, a new documentary about the famously reclusive and enigmatic actor. A moment later, the screen shifts from blank to the results of that digitization. An eerie, monochrome, computerized head, as somber and uncanny as a death mask, appears and runs through a number of different actorly expressions — from happy to angry to sad — before speaking a few lines of Shakespeare. This is just one example of a scene in a documentary that takes an unusual approach to an extraordinary subject.
??
For the film, British documentarian Steven Riley had access to the hundreds of hours of audiotape that Brando made throughout his life, long monologues spoken into a microphone as a form of diary and therapy. Instead of using a narrator or title cards as a typical documentary might, Riley allows Brando to narrate his own life, to tell his own story. The audio is paired with archival film and photographs, much of it never seen before. The result of this simple technique is an immersive, surprisingly dreamlike, surreal atmosphere, one that seems miles away from the straight-forward, "just-the-facts" approach of a typical documentary. (The digitized head, which appears briefly throughout the film, certainly adds to the "surreal" aspect). Brando's head, we discover, was a complicated thing.
??
Brando was born and raised in rural Nebraska by two alcoholic parents. The shadow of abuse and neglect from his brutal, difficult father is something that haunted him throughout his troubled life. In one scene, we see Brando as a young man enjoying the first years of his success: he's on one of those This Is Your Life-type TV shows, and they've also invited his father. The atmosphere is genial but tense, and at one point, Brando jokes about no longer being afraid of his father because he's able to beat him up. It's seemingly a typical "I can take down the ol' man now" joke, but it's easy to read the years of sublimated rage, monumental tension, and fear in both of their faces. "Show, don't tell," is famous advice to creatives, and it's clearly a tip that director Riley took to heart.
??
We examine many of the significant aspects of Brando's life in a similar vein: his apprenticeship with famed acting teacher Stella Adler and his early unprecedented success as Stanley in A Streetcar Named Desire. The film also explores his womanizing, a growing discomfort with fame, and the terrible violent tragedies that befell his son and daughter in spite of his best efforts to protect them from the sort of domestic savagery he experienced under his own father. It's captivating stuff.
??
Riley fills in gaps with reenactments. When Brando describes his home life, there's no way for the audience to know if the black-and-white-filmed shots of the people we're seeing in the home are archival or recreations. Is it his actual home in Nebraska or a stand-in in the Hollywood hills? It's a common 21st-century technique, a blending of fictive and actual elements, but one that may stick in the craw of some viewers and make them feel slightly disoriented and distrustful of other scenes. And the film moves chronologically, but in the long, busy, eventful life we often gloss over nuts-and-bolts biographical details that would help us understand how and why things unfolded exactly as they did.
??
Still, Listen to Me Marlon is a fascinating glimpse into the mind of one of the greatest, and most private actors of all time. "Actors don't act," Brando tells us at one point. "The audience does the acting, the audience does the feeling." To watch Listen to Me Marlon is to feel the truth of that. (4 out of 5 stars)"
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??
For the film, British documentarian Steven Riley had access to the hundreds of hours of audiotape that Brando made throughout his life, long monologues spoken into a microphone as a form of diary and therapy. Instead of using a narrator or title cards as a typical documentary might, Riley allows Brando to narrate his own life, to tell his own story. The audio is paired with archival film and photographs, much of it never seen before. The result of this simple technique is an immersive, surprisingly dreamlike, surreal atmosphere, one that seems miles away from the straight-forward, "just-the-facts" approach of a typical documentary. (The digitized head, which appears briefly throughout the film, certainly adds to the "surreal" aspect). Brando's head, we discover, was a complicated thing.
??
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??
We examine many of the significant aspects of Brando's life in a similar vein: his apprenticeship with famed acting teacher Stella Adler and his early unprecedented success as Stanley in ''A Streetcar Named Desire''. The film also explores his womanizing, a growing discomfort with fame, and the terrible violent tragedies that befell his son and daughter in spite of his best efforts to protect them from the sort of domestic savagery he experienced under his own father. It's captivating stuff.
??
Riley fills in gaps with reenactments. When Brando describes his home life, there's no way for the audience to know if the black-and-white-filmed shots of the people we're seeing in the home are archival or recreations. Is it his actual home in Nebraska or a stand-in in the Hollywood hills? It's a common 21st-century technique, a blending of fictive and actual elements, but one that may stick in the craw of some viewers and make them feel slightly disoriented and distrustful of other scenes. And the film moves chronologically, but in the long, busy, eventful life we often gloss over nuts-and-bolts biographical details that would help us understand how and why things unfolded exactly as they did.
??
Still, ''Listen to Me Marlon'' is a fascinating glimpse into the mind of one of the greatest, and most private actors of all time. "Actors don't act," Brando tells us at one point. "The audience does the acting, the audience does the feeling." To watch ''Listen to Me Marlon'' is to feel the truth of that. __(4 out of 5 stars)__"
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string(4102) " Director Stevan Riley combines new technology with archival footage and audio to tell actor's story 2015-08-17T08:00:00+00:00 Listen to Me Marlon' is an unusual approach to an extraordinary subject Andrew Alexander 1223508 2015-08-17T08:00:00+00:00 "I've had my head digitized," is the first thing we hear Marlon Brando say in Listen to Me Marlon, a new documentary about the famously reclusive and enigmatic actor. A moment later, the screen shifts from blank to the results of that digitization. An eerie, monochrome, computerized head, as somber and uncanny as a death mask, appears and runs through a number of different actorly expressions — from happy to angry to sad — before speaking a few lines of Shakespeare. This is just one example of a scene in a documentary that takes an unusual approach to an extraordinary subject.
??
For the film, British documentarian Steven Riley had access to the hundreds of hours of audiotape that Brando made throughout his life, long monologues spoken into a microphone as a form of diary and therapy. Instead of using a narrator or title cards as a typical documentary might, Riley allows Brando to narrate his own life, to tell his own story. The audio is paired with archival film and photographs, much of it never seen before. The result of this simple technique is an immersive, surprisingly dreamlike, surreal atmosphere, one that seems miles away from the straight-forward, "just-the-facts" approach of a typical documentary. (The digitized head, which appears briefly throughout the film, certainly adds to the "surreal" aspect). Brando's head, we discover, was a complicated thing.
??
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??
We examine many of the significant aspects of Brando's life in a similar vein: his apprenticeship with famed acting teacher Stella Adler and his early unprecedented success as Stanley in A Streetcar Named Desire. The film also explores his womanizing, a growing discomfort with fame, and the terrible violent tragedies that befell his son and daughter in spite of his best efforts to protect them from the sort of domestic savagery he experienced under his own father. It's captivating stuff.
??
Riley fills in gaps with reenactments. When Brando describes his home life, there's no way for the audience to know if the black-and-white-filmed shots of the people we're seeing in the home are archival or recreations. Is it his actual home in Nebraska or a stand-in in the Hollywood hills? It's a common 21st-century technique, a blending of fictive and actual elements, but one that may stick in the craw of some viewers and make them feel slightly disoriented and distrustful of other scenes. And the film moves chronologically, but in the long, busy, eventful life we often gloss over nuts-and-bolts biographical details that would help us understand how and why things unfolded exactly as they did.
??
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Listen to Me Marlon' is an unusual approach to an extraordinary subject Article
Monday August 17, 2015 04:00 am EDT
Director Stevan Riley combines new technology with archival footage and audio to tell actor's story
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string(3128) "For his second documentary, The Look of Silence, filmmaker Joshua Oppenheimer returns to the subject of his Oscar-nominated first, The Act of Killing. Both films bring to light the nightmarish atrocities of the anti-communist purge in Indonesia in the mid-1960s. But as the title might suggest, the new film is a much quieter, more contemplative one than its 2012 predecessor, which conveyed the horror and absurdity of those events by having the perpetrators reenact their deeds for the camera, a task they took on with surreal vigor.
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The film departs from Oppenheimer's earlier documentary in a moving way, by focusing on the permanent devastation that violence brings to victims' families. In one of the film's most touching scenes, Adi's mother bathes the body of his emaciated, centenarian father. There and throughout the film, it's possible to see the pain of the loss of the family's eldest son still written on their faces and bodies.
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In ''The Look of Silence'', we instead follow the story of [http://www.theguardian.com/film/2014/aug/28/the-look-of-silence-gets-venice-talking-but-verdict-from-indonesia-still-pending|Adi Rukun] and his family as they look into the circumstances around his brother's death during Indonesia's bloody past. In some of the film's most excruciating scenes, Adi watches video recordings of interviews with his brother's killers, who are casually remorseless on camera about their methods.
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??
The film departs from Oppenheimer's earlier documentary in a moving way, by focusing on the permanent devastation that violence brings to victims' families. In one of the film's most touching scenes, Adi's mother bathes the body of his emaciated, centenarian father. There and throughout the film, it's possible to see the pain of the loss of the family's eldest son still written on their faces and bodies.
??
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string(3465) " Joshua Oppenheimer's follow-up to The Act of Killing is both contemplative and bleak 2015-08-06T08:00:00+00:00 'The Look of Silence' delivers heart-wrenching rawness Andrew Alexander 1223508 2015-08-06T08:00:00+00:00 For his second documentary, The Look of Silence, filmmaker Joshua Oppenheimer returns to the subject of his Oscar-nominated first, The Act of Killing. Both films bring to light the nightmarish atrocities of the anti-communist purge in Indonesia in the mid-1960s. But as the title might suggest, the new film is a much quieter, more contemplative one than its 2012 predecessor, which conveyed the horror and absurdity of those events by having the perpetrators reenact their deeds for the camera, a task they took on with surreal vigor.
??
In The Look of Silence, we instead follow the story of Adi Rukun and his family as they look into the circumstances around his brother's death during Indonesia's bloody past. In some of the film's most excruciating scenes, Adi watches video recordings of interviews with his brother's killers, who are casually remorseless on camera about their methods.
??
Though the anti-communist furor in Indonesia was fanned by the military, the atrocities were in many cases carried out by local vigilante groups. Killers and victims were — and in many cases still are — neighbors. Adi discovers that his older brother's killers live just down the road, and one by one, he confronts them in his plainspoken, patient way, seeking to understand if they're capable of expressing remorse. It slowly becomes clear that Adi, a gentle optometrist with a young family who visits the killers under the guise of testing their vision for new glasses, doesn't want revenge or confrontation, but an opportunity to understand and even forgive.
??
The focus in both of Oppenheimer's films is not so much on the banality of evil (though that is present in abundance), but on the sheer, enduring arrogance of it, and its seeming triumph and lack of self-recrimination. If there's remorse, it seems self-indulgent, even meaningless. "You ask too many questions," Adi is told again and again by the perpetrators, who all share the smug confidence of power, money, and position. "The past is past" is the phrase they use to dismiss him; some even threaten that the trouble could come again to those who ask too many questions. You can note in the closing credits how many of the people who participated in making the film wanted, understandably, to remain anonymous.
??
The film departs from Oppenheimer's earlier documentary in a moving way, by focusing on the permanent devastation that violence brings to victims' families. In one of the film's most touching scenes, Adi's mother bathes the body of his emaciated, centenarian father. There and throughout the film, it's possible to see the pain of the loss of the family's eldest son still written on their faces and bodies.
??
The Look of Silence offers a bleak, crystal-clear look at an incomprehensible, unspeakable subject. Devastatingly, nothing boils down to an easy, uplifting, or hopeful message here. As in The Act of Killing, Oppenheimer opens a window to a world many of us would prefer not to see. It's a world where the past can be buried, the innocent suffer, the guilty triumph, and everyone must live together side by side. (4 out of 5 stars) 13084110 15005727 'The Look of Silence' delivers heart-wrenching rawness "
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Thursday July 30, 2015 04:00 am EDT
Director's latest release feels like a rehashing of characters and narratives from past projects
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? National Theatre Live: Everyman. $15. 11 a.m. Sun., Aug. 2. Landmark Midtown Art Cinema, 931 Monroe Dr. N.E. 404-879-0160. landmarktheatres.com.?
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? Everyman, you may recall from English Lit class (you may choose not to), is a 15th-century morality play about a man who tries to escape from death; it's long been considered one of the foundational cornerstones of English drama. The inventive-looking National Theatre production includes words by British Poet Laureate Carol Ann Duffy and movement by choreographer Javier De Frutos.
?
? National Theatre Live: Everyman. $15. 11 a.m. Sun., Aug. 2. Landmark Midtown Art Cinema, 931 Monroe Dr. N.E. 404-879-0160. landmarktheatres.com.?
?
13083879 14984839 Critic's Notebook: Chiwetel Ejiofor leads cast of 'Everyman' broadcast "
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Critic's Notebook: Chiwetel Ejiofor leads cast of 'Everyman' broadcast Article
Wednesday July 29, 2015 10:35 am EDT
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? Actor Chiwetel Ejiofor is probably most familiar to American audiences for his film roles including his Oscar-nominated performance as Solomon Northup in 2013's 12 Years a Slave. But Ejiofor is also a hugely accomplished stage actor in his home country of England. Atlanta audiences can easily catch a glimpse of this side of Ejiofor when the National Theatre of Great Britain does...
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? Following up on the success of the 2013 exhibition Drawing Inside the Perimeter, the High Museum's Sprawl! Drawing Outside the Lines focuses on work by contemporary Atlanta-based artists. The new show expands the concept by featuring over 100 recently-acquired works by more than 75 artists (both ITP and OTP), including a title wall designed by Atlanta muralist Paper Frank. CL caught up with the High's Curator of Modern and Contemporary Art Michael Rooks to chat about picking the works to represent Atlanta in the show.
?
? Tell me about the process of selecting work for Sprawl!.
? I visit artists' studios with Atlanta art consultant Marianne Lambert and art patron Susan Antinori. We call ourselves the "Three Amigos." We do studio visits every Thursday, about five or six of them. From those visits, I follow up with artists whose place in their career seems very serious and mature.
?
? But how do you hear about an artist before a visit?
? I ask artists to recommend other artists. I've always respected artists' recommendations about anyone else. When I visit with people and we make a connection, I'll ask if they know anyone else worth meeting and taking a look at.
? image-1
? When you go to a studio and consider work, what are you looking for?
? I arrange studio visits with people whose work interests me. I don't go with the specific goal of buying something or acquiring something. It's not a transactional thing. It's about me meeting artists who are interesting and serious and who have a studio practice that's growing and evolving.
?
? Whose studio was the most unusual or surprising?
? I guess that would be Frank Dunson. He works out of his apartment. His day job is being Paper Frank. He works across the country doing big mural projects. He lives in a little one-bedroom apartment, and it's full of art. His walls are covered in painted images. What he does extends off of the paper and canvas and onto the walls. It's this environment that's just incredible.
?
? The work in the show seems really varied, but would you say that there's some sort of approach or style that these artists all share that's identifiably "Atlanta"?
? I don't know if I can say "identifiably Atlanta," but there are certain strands of influence that are perhaps unique to Atlanta. One of them is this sort of underground approach. There is now an underground here that's really vibrant and that's self-sustaining. It's like Chicago in the '60s. The underground there became known as the Chicago Imagists. They were doing something against the grain, figurative work that no one else was doing. Here, the underground consists of artists who are sometimes untrained, who also often work in the commercial realm — illustration, tattoo, murals, and graphic design — so those influences of commercial art are very strong. They're very comfortable crossing over, very ambidextrous.
?
? Do you have any advice for people who haven't really collected art before but might be interested in exploring this realm and buying some work by Atlanta artists?
? Be receptive to learning about what artists are up to and what the work is about. Go to galleries. Pay attention to the gallery system we have here in the city. It's small, but it's really vibrant and there are great things. I would say go to the Sprawl exhibition site where we have hyperlinks for all the artists in the show. Go to their websites and check them out. They're amazing, but they're a fraction of the number of people in the city making great work. Take a chance on buying something that may not be immediately appealing to you. Something that's immediately appealing may be just decorative, and you'll lose interest in it after a couple weeks. A really powerful work of art is something you can look at every day. I personally collect. My apartment here is full of art from Atlanta. I have things sitting on the floor and leaning against the wall in every room. I love coming home at the end of the week. I just sit there and have a cocktail and look at them. I don't have a TV so that's my TV. I just never get tired of coming home and looking at these things.
"
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? Following up on the success of the 2013 exhibition [http://clatl.com/atlanta/the-high-draws-a-portrait-of-atlanta/Content?oid=8637030|''Drawing Inside the Perimeter''], the High Museum's ''[https://www.high.org/Art/Exhibitions/Sprawl-Drawing-Outside-the-Lines.aspx|Sprawl! Drawing Outside the Lines]'' focuses on work by contemporary Atlanta-based artists. The new show expands the concept by featuring over 100 recently-acquired works by more than 75 artists (both ITP and OTP), including a title wall designed by Atlanta muralist [http://clatl.com/atlanta/paper-franks-beautiful-twisted-reality/Content?oid=9059029|Paper Frank]. ''CL ''caught up with the High's Curator of Modern and Contemporary Art [http://clatl.com/freshloaf/archives/2015/03/27/the-highs-michael-rooks-to-receive-the-nexus-award|Michael Rooks] to chat about picking the works to represent Atlanta in the show.
?
? __Tell me about the process of selecting work for ''Sprawl!''.__
? I visit artists' studios with [Atlanta art consultant] Marianne Lambert and [art patron] Susan Antinori. We call ourselves the "Three Amigos." We do studio visits every Thursday, about five or six of them. From those visits, I follow up with artists whose place in their career seems very serious and mature.
?
? __But how do you hear about an artist before a visit?__
? I ask artists to recommend other artists. I've always respected artists' recommendations about anyone else. When I visit with people and we make a connection, I'll ask if they know anyone else worth meeting and taking a look at.
? [image-1] ____
__? When you go to a studio and consider work, what are you looking for?__
? I arrange studio visits with people whose work interests me. I don't go with the specific goal of buying something or acquiring something. It's not a transactional thing. It's about me meeting artists who are interesting and serious and who have a studio practice that's growing and evolving.
?
? __Whose studio was the most unusual or surprising?__
? I guess that would be Frank Dunson. He works out of his apartment. His day job is being Paper Frank. He works across the country doing big mural projects. He lives in a little one-bedroom apartment, and it's full of art. His walls are covered in painted images. What he does extends off of the paper and canvas and onto the walls. It's this environment that's just incredible.
?
? __The work in the show seems really varied, but would you say that there's some sort of approach or style that these artists all share that's identifiably "Atlanta"?__
? I don't know if I can say "identifiably Atlanta," but there are certain strands of influence that are perhaps unique to Atlanta. One of them is this sort of underground approach. There is now an underground here that's really vibrant and that's self-sustaining. It's like Chicago in the '60s. The underground there became known as the [http://hyperallergic.com/126627/chicago-imagists-art-historys-overlooked-chapter-now-on-film/|Chicago Imagists]. They were doing something against the grain, figurative work that no one else was doing. Here, the underground consists of artists who are sometimes untrained, who also often work in the commercial realm — illustration, tattoo, murals, and graphic design — so those influences of commercial art are very strong. They're very comfortable crossing over, very ambidextrous.
?
? __Do you have any advice for people who haven't really collected art before but might be interested in exploring this realm and buying some work by Atlanta artists?__
? Be receptive to learning about what artists are up to and what the work is about. Go to galleries. Pay attention to the gallery system we have here in the city. It's small, but it's really vibrant and there are great things. I would say go to the ''Sprawl ''exhibition site where we have hyperlinks for all the artists in the show. Go to their websites and check them out. They're amazing, but they're a fraction of the number of people in the city making great work. Take a chance on buying something that may not be immediately appealing to you. Something that's immediately appealing may be just decorative, and you'll lose interest in it after a couple weeks. A really powerful work of art is something you can look at every day. I personally collect. My apartment here is full of art from Atlanta. I have things sitting on the floor and leaning against the wall in every room. I love coming home at the end of the week. I just sit there and have a cocktail and look at them. I don't have a TV so that's my TV. I just never get tired of coming home and looking at these things.
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string(4411) " 2015-07-22T14:15:00+00:00 Critic's Notebook: Curating the High's 'Sprawl!' Andrew Alexander 1223508 2015-07-22T14:15:00+00:00 image-2
? Following up on the success of the 2013 exhibition Drawing Inside the Perimeter, the High Museum's Sprawl! Drawing Outside the Lines focuses on work by contemporary Atlanta-based artists. The new show expands the concept by featuring over 100 recently-acquired works by more than 75 artists (both ITP and OTP), including a title wall designed by Atlanta muralist Paper Frank. CL caught up with the High's Curator of Modern and Contemporary Art Michael Rooks to chat about picking the works to represent Atlanta in the show.
?
? Tell me about the process of selecting work for Sprawl!.
? I visit artists' studios with Atlanta art consultant Marianne Lambert and art patron Susan Antinori. We call ourselves the "Three Amigos." We do studio visits every Thursday, about five or six of them. From those visits, I follow up with artists whose place in their career seems very serious and mature.
?
? But how do you hear about an artist before a visit?
? I ask artists to recommend other artists. I've always respected artists' recommendations about anyone else. When I visit with people and we make a connection, I'll ask if they know anyone else worth meeting and taking a look at.
? image-1
? When you go to a studio and consider work, what are you looking for?
? I arrange studio visits with people whose work interests me. I don't go with the specific goal of buying something or acquiring something. It's not a transactional thing. It's about me meeting artists who are interesting and serious and who have a studio practice that's growing and evolving.
?
? Whose studio was the most unusual or surprising?
? I guess that would be Frank Dunson. He works out of his apartment. His day job is being Paper Frank. He works across the country doing big mural projects. He lives in a little one-bedroom apartment, and it's full of art. His walls are covered in painted images. What he does extends off of the paper and canvas and onto the walls. It's this environment that's just incredible.
?
? The work in the show seems really varied, but would you say that there's some sort of approach or style that these artists all share that's identifiably "Atlanta"?
? I don't know if I can say "identifiably Atlanta," but there are certain strands of influence that are perhaps unique to Atlanta. One of them is this sort of underground approach. There is now an underground here that's really vibrant and that's self-sustaining. It's like Chicago in the '60s. The underground there became known as the Chicago Imagists. They were doing something against the grain, figurative work that no one else was doing. Here, the underground consists of artists who are sometimes untrained, who also often work in the commercial realm — illustration, tattoo, murals, and graphic design — so those influences of commercial art are very strong. They're very comfortable crossing over, very ambidextrous.
?
? Do you have any advice for people who haven't really collected art before but might be interested in exploring this realm and buying some work by Atlanta artists?
? Be receptive to learning about what artists are up to and what the work is about. Go to galleries. Pay attention to the gallery system we have here in the city. It's small, but it's really vibrant and there are great things. I would say go to the Sprawl exhibition site where we have hyperlinks for all the artists in the show. Go to their websites and check them out. They're amazing, but they're a fraction of the number of people in the city making great work. Take a chance on buying something that may not be immediately appealing to you. Something that's immediately appealing may be just decorative, and you'll lose interest in it after a couple weeks. A really powerful work of art is something you can look at every day. I personally collect. My apartment here is full of art from Atlanta. I have things sitting on the floor and leaning against the wall in every room. I love coming home at the end of the week. I just sit there and have a cocktail and look at them. I don't have a TV so that's my TV. I just never get tired of coming home and looking at these things.
13083791 14928410 Critic's Notebook: Curating the High's 'Sprawl!' "
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Critic's Notebook: Curating the High's 'Sprawl!' Article
Wednesday July 22, 2015 10:15 am EDT
image-2
? Following up on the success of the 2013 exhibition Drawing Inside the Perimeter, the High Museum's Sprawl! Drawing Outside the Lines focuses on work by contemporary Atlanta-based artists. The new show expands the concept by featuring over 100 recently-acquired works by more than 75 artists (both ITP and OTP), including a title wall designed by Atlanta muralist Paper Frank. CL caught...
